I wish I had seen the Elvis Costello extra prior to seeing the movie. Some people might see the information contained there as a spoiler, so I checked that box, though this is hardly a plot-driven film. If I had known that the director of the film was the same as that of the brilliant, if truth-bending, Diving Bell and the Butterfly, I would have watched it w great anticipation. I also would have immediately recognized Emmanuel Seigner as the beautiful woman who showed up on the screen from time to time. As it is, I did not press play with much anticipation. I knew this was going to be no Concert for Bangaladesh. I expected Lou Reed and got Lou Reed. It was nicely spiced with the occasional glimpse of the Cayenne pepper beauty of Ms. Seigner. Could have used more of that. Unfortunately, with the exception of Perfect Day and Sweet Jane, I see most of the late Lou's music as background music. Dark background music, but background music nevertheless. Neither do I see anything fascinating about Warhol's Factory or the seedy side of the French Quarter in my home town. I generally prefer the sunny to the wild side of the street. I said, hey sugar, take a walk on the sunny side, I said hey babe, take a walk on the sunny side, and the colored girls say whatever they want. At least now I know how Lou's music wound up--in the background--of a French film.
Review of Lou Reed: Berlin
